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Download Dancefilm: Choreography and the Moving Image djvu

by Erin Brannigan

Author: Erin Brannigan
Subcategory: Performing Arts
Language: English
Publisher: Oxford University Press; 1 edition (February 9, 2011)
Pages: 240 pages
Category: Photo and Art
Rating: 4.3
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Erin Brannigan works in dance and film as a journalist, academic and curator

Erin Brannigan works in dance and film as a journalist, academic and curator. She was the founding Director of ReelDance International Dance on Screen Festival and has curated dance screen programs and exhibitions for Sydney Festival 2008, Melbourne International Arts Festival 2003 and international dance screen festivals. Erin writes on dance for the Australian arts newspaper, RealTime and lectures in the School of English, Media and Performing Arts at the University of New South Wales. Библиографические данные. Dancefilm: Choreography and the Moving Image.

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Erin Brannigan's book is an innovative contribution of equal importance to Cinema Studies and Dance . Brannigan takes a clever and convincing route in her exploration of the realm of dance and the moving image.

A significant contribution to the field.

бесплатно, без регистрации и без смс. Dancefilm: Choreography and the Moving Image examines the choreographic in. . Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It traces the history of the form from some of its earliest manifestations in the silent film era, through the historic avant-garde, musicals and music videos to contemporary experimental short dancefilms. In so doing it also examines some of the most significant collaborations between dancers, choreographers, and filmmakers

Erin Brannigan's book is an innovative contribution of equal importance to Cinema Studies and Dance .

Brannigan takes a clever and convincing route in her exploration of the realm of dance and the moving image. Erin Brannigan works in dance and film as a journalist, academic and curator.

Home Browse Books Book details, Dancefilm: Choreography and the Moving Image . A field of activity involving dance and the moving image, which has been referred to as videodance, screen dance, and cinedance (among other things), provided the initial inspiration for this book. I will use the term screen dance to refer to these predominantly short films and videos made by collaborative er teams, such as director David Hinton’s work with DV8 Physical Theatre and Clara van Gool’s work with Jordi Cortès Molina, or choreographers who have also taken on the role of director as in the case of Amy Greenfield, Anna.

In so doing Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. Drawing on debates in both film theory (in particular ideas of gesture, the close up, and affect) and dance theory (concepts such as radical phrasing, the gestural anacrusis and somatic intelligence) and bringing these two fields into dialogue, the book argues that the combination of dance and film produces cine-choreographic practices that are specific to the dancefilm form.

Ephemeral Image (2012) and Erin Brannigan's Dancefilm: Choreography and the Moving Image (2011) what is meant by the term slapstick

Finally, two books have come out that will stand alongside Dodds's to re-ignite conversations in the screendance field and in Dance Studies generally, and will do so in a generative and critical way: Douglas Rosenberg's Screendance: Inscribing the Ephemeral Image (2012) and Erin Brannigan's Dancefilm: Choreography and the Moving Image (2011) what is meant by the term slapstick. This in itself is no mean feat.

Erin Brannigan works in dance and film as a journalist, academic and curator

Erin Brannigan works in dance and film as a journalist, academic and curator.

ISBN: 0195367243; Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. In so doing it also examines some of the most significant collaborations between dancers, choreographers, and filmmakers

Dancefilm: Choreography and the Moving Image examines the choreographic in cinema - the way choreographic elements inform cinematic operations in dancefilm. It traces the history of the form from some of its earliest manifestations in the silent film era, through the historic avant-garde, musicals and music videos to contemporary experimental short dancefilms. In so doing it also examines some of the most significant collaborations between dancers, choreographers, and filmmakers. The book also sets out to examine and rethink the parameters of dancefilm and thereby re-conceive the relations between dance and cinema. Dancefilm is understood as a modality that challenges familiar models of cinematic motion through its relation to the body, movement and time, instigating new categories of filmic performance and creating spectatorial experiences that are grounded in the somatic. Drawing on debates in both film theory (in particular ideas of gesture, the close up, and affect) and dance theory (concepts such as radical phrasing, the gestural anacrusis and somatic intelligence) and bringing these two fields into dialogue, the book argues that the combination of dance and film produces cine-choreographic practices that are specific to the dancefilm form. The book thus presents new models of cinematic movement that are both historically informed and thoroughly interdisciplinary.